Academic literature on the topic 'Weinell, William E'

Tekst dotyczy filmu The Flicker (1966), kinematograficznego debiutu zmarłego niedawno Tony’ego Conrada – wybitnego muzyka, odważnego reżysera, głównej postaci nowojorskiego undergroundu lat 60. Autor przedstawia kluczowy film amerykańskiej awangardy lat 60. na szerokim tle kultury epoki: od ówczesnych zjawisk w sztukach wizualnych, przez wątki amerykańskiej kultury masowej, po tendencje nowojorskiej sceny muzyki eksperymentalnej. Szeroka panorama kulturowych zjawisk układa się estetykę nowego, bezpośredniego oddziaływania dzieła sztuki na odbiorcę, oddziaływania, dla którego modelem staje się działanie substancji psychoaktywnych. Estetyka ta rodzi się pomiędzy koncepcjami Johna Cage’a, Norberta Weinera oraz Williama Burroughsa. Autor w końcowej części tekstu zestawia The Flicker z innymi filmami eksperymentalnymi z tego okresu, kładąc nacisk na te powstające w środowisku Fluxusu.

A. K. Dickinson, P. J. Lee, and P. J. Rogers. Learning History. London: Heinemann Educational Books, Ltd., 1984. Pp. x, 230. Paper, $14.00; Donald W. Whisenhunt. A Student's Introduction to History. Boston: American Press, 1984. Pp. 31. Paper, $2.95. Review by Robert A. Calvert of Texas A&M University. Ronald J. Grele. Envelopes of Sound: The Art of Oral History. Chicago: Precendent Publishing, Inc. 1985. Second Edition. Pp. xii, 283. Cloth, $20.95. Review by Marsha Frey of Kansas State University. Reginald Horsman. The Diplomacy of the New Republic, 1776-1815. Arlington Heights, Illinois: Harlan Davidson., 1985. Pp. vii, 153. Paper, $7.95. Review by William Preston Vaughn of North Texas State University. Lynn Y. Weiner. From Working Girl to Working Mother: The Female Labor Force in the United States, 1820-1980. Chapel Hill and London: The University of North Carolina Press, 1985. Pp. xii, 187. Cloth, $17.95. Review by E. Dale Odom of North Texas State University. Mary Custis Lee de Butts, ed. Growing Up in the 1850s: The Journal of Agnes Lee. Chapel Hill and London: University of North Carolina Press, 1984. Pp. xx, 151. Cloth, $11.95. Review by Clarence L. Mohr of Tulane University. Raymond A. Mohl. The New City: Urban America in the Inudstrial Age, 1860-1920. Arlington Heights, Illinois: Harlan Davidson, Inc., 1985. Pp. 242. Paper, $8.95; Melvyn Dubofsky. Industrialism and the American Worker, 1865-1920 (Second Edition). Arlington Heights, Illinois: Harlan Davidson, Inc., 1985. Pp. 167. Paper, $8.95. Review by Richard L. Means of Mountain View College. David D. Lee. Sergeant York: An American Hero. Lexington, Kentucky: University Press of Kentucky, 1985. Pp. 162. Cloth, $18.00. Review by Richard Selcer of Mountain View College. Studs Terkel. "The Good War": An Oral History of World War Two. New York: Pantheon Books, 1984. Pp. xv, 589. Cloth, $19.95. Review by William Vance Trollinger of The School of the Ozarks. David W. Reinhard. The Republican Right Since 1945. Lexington: The University Press of Kentucky, 1983. Pp. ix, 294. Cloth, $25.00. Review by James C. Williams of Gavilan College. Christina Larner. Witchcraft and Religion: The Politics of Popular Belief. New York: Basil Blackwell, 1984. Pp. xi, 172. Cloth, $24.95. Review by K. Gird Romer of Kennesaw College. F. R. H. DuBoulay. Germany in the Later Middle Ages. New York: St. Martin's Press, Inc., 1984. Pp. xii, 260. Cloth, $30.00; Joseph Dahmus. Seven Decisive Battles of the Middle Ages. Chicago: Nelson Hall, 1984. Pp. viii, 244. Cloth, $23.95. Review by Robert H. Welborn of Clayton College. Gerald Fleming. Hitler and the Final Solution. With an Introduction by Saul Friedlaender. Berkeley: University of California Press, 1984 (German, 1982). Pp. xxxvi, 219. Cloth, $15.95; Sarah Gordon. Hitler, Germans, and the "Jewish Question." Princeton: Princeton University Press, 1984. Pp. xiv, 412. Cloth, $40.00; Limited Paper Edition, $14.50. Review by Thomas T. Lewis of Mount Senario College. Alan Cassels. Fascist Italy. Arlington Heights, Illinois: Harlan Davidson, Inc., 1985. Second Edition. Pp. x, 146. Paper, $8.95. Review by Lawrence S. Rines of Quincy Junior College; Additional response by Lawrence S. Rines of Quincy Junior College.

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2016
Anexo: "Uma vida inteira - peça de representação" disponível em suporte papel
A investigação conducente a esta tese desenvolve-se no interior de uma práxis artística que procura, em cada momento, estabelecer um vínculo profundo com uma realidade contextual que a motiva, circunscreve e abre em momentos sucessivos de exibição. Neste sentido, a pesquisa parte dessa prática artística com o fim principal de pensá-la no próprio processo que a gera e sustenta, procurando focar melhor e aprofundar as questões do enraizamento contextual da obra ou as relativas às necessidades de circulação a que os produtos criativos estão sujeitos nos dias de hoje, bem como a consequente possibilidade de desmaterialização de vínculos que estes sucessivos movimentos podem provocar nas obras. Sala de exposição – Parte II, obra artística central na investigação, tem como antecessora Sala de exposição, projeto que partilha como denominador comum o ateliê, que foi sempre o mesmo, e a sala de exposição, adicionada à própria obra. É esse ateliê, sediado numa antiga fábrica, o lugar de origem do processo gerador da obra e um seu constituinte. Mas, no enunciado desse lugar, considera-se também, uma sala de exposição, o local (onde na própria fábrica se expunham os objetos produzidos) como parte integrante da obra, que transita para os novos locais de visibilidade. Por outro lado, o ateliê é também o lugar ao qual todas as obras são devolvidas, física ou virtualmente, pelo que entender esse ateliê como lugar de regresso converte-o duplamente num referente contextual determinante para o estabelecimento da teia de relações que estrutura conceptualmente a obra em variadas situações de visibilidade. À procura de entendimento do papel na práxis criativa assumido pelo ateliê como lugar de regresso e da sala de exposição como lugar de alteridade, associa-se, complementarmente, a identificação de estratégias e metodologias criativas usados por outros artistas com propósitos idênticos, reforçando e problematizando a reflexão no interior do processo criativo.
The research conducing to this thesis has been developed inside an artistic praxis that demands, at each time, to establish a deep bond with a contextual reality that motivates, circumscribes and opens it at consecutive moments of exhibition. To this extent, the research stems from this artistic practice, aiming to consider it within the process that generates and sustains it, looking to focus and deepen issues of contextual rooting of the work or on those relating to the circulation needs creative products are subject to today, as well as the consequent possibility of dematerialisation of bonds these successive movements may bring to the works. Sala de Exposição – Parte II, an artwork key to this research, stems from Sala de Exposição, a project sharing as common denominator the studio, which was always the same, and the exhibition rooms that kept being added to the work itself. It is this studio, located on the premises of a former factory, the place of origin of the process generating the work and also its constituent. But, in that site’ statement, it is also considered an exhibition room, the place (where in the factory were exhibited the produced objects) integral to the work, which transits to the new sites of visibility. On the other hand, the studio is also the place to where all works come back, physically or virtually, and therefore understanding it as a place of return doubly turns it into a contextual reference determinant for the establishment of the web of relations that conceptually structures the work in varied visibility situations. To the search for an understanding of the role played in the creative praxis by the assumption of the studio as place of return and of the exhibition room as place of alterity, is associated the recognition of creative strategies and methodologies used by other artists with similar purposes, reinforcing and problematising the reflection within the creative process.